Lindsay Pollock Named Chief Communications and Content Officer At The Whitney

The Whitney Museum of American Art is pleased to announce the appointment of Lindsay Pollock as Chief Communications and Content Officer. She joins the Museum on May 7.

Pollock comes to the Whitney from Art in America where she was Editor-in-Chief from 2011 to 2017. While there, she succeeded in re-positioning and re-energizing one of the oldest and most venerable contemporary art magazines.

Lindsay Pollock Named Chief Communications and Content Officer At The Whitney

Lindsay Pollock Named Chief Communications and Content Officer At The Whitney

Adam D. Weinberg, the Whitney’s Alice Pratt Brown Director, said, “Lindsay has long standing relationships and expertise in the art world as well as a deep appreciation for the Whitney’s mission and ethos. She will bring a creative spirit and fresh perspective to the areas she’ll be overseeing, including communications, digital media, and graphic design. We are thrilled that Lindsay will be joining the Museum.”

As Editor-in-Chief at Art in America, Pollock led strategic development and execution for the editorial aspects of the publication, in both print and on the web; worked with the Publisher to develop new audiences and invigorate existing ones; and, endeavored to increase revenues at a difficult time for the industry. She recruited new editorial staff; developed, trained, and mentored editorial and production staff; and promoted the magazine’s visibility through speaking engagements, events, and partnerships.

The Whitney is one of the most dynamic and vibrant art institutions in the U.S., which happens to have been founded by a visionary woman, and whose nearly century-old mission is rooted in the desire to support and engage with American art,” said Pollock. “I am sincerely honored to be part of the talented team helping to shape the Whitney’s next chapter.”

Prior to her time at Art in America, Pollock worked for a number of years as a journalist, covering the arts at Bloomberg News, The Art Newspaper, and the New York Sun. Early in her career, she worked as marketing director for the Central Park Conservancy and as marketing manager at Sotheby’s. She is the author of The Girl with the Gallery, a biography on pioneering American art dealer Edith Halpert (Public Affairs, 2006). Pollock earned her B.A. in Art History from Barnard College and a M.S. from the Columbia University Graduate School of Journalism.

Opening Thursday | David Salle: Paintings 1985-1995

unnamed (1)

Skarstedt is pleased to present David Salle: Paintings 1985 – 1995, an exhibition of historic paintings highlighting a prolific and experimental period of Salle’s career. With a selection from some of his most significant bodies of work, the exhibition will be on view from April 26 – June 23, 2018, at Skarstedt Upper East Side, 20 East 79th Street, New York, NY 10075.

unnamed

David Salle, Mingus in Mexico, 1990, oil and acrylic on canvas, 95 1/8 x 122 3/8 inches (421.6 x 310.8cm) © David Salle / Licensed by VAGA, New York, NY.


A celebrated master of postmodern painting, David Salle is known for his deconstruction of images through his use of photography, collage, and his uncanny compositional instinct. With the return of painting in the 1980s simultaneous to the rise of the “Pictures Generation”, Salle became a bridge between these two techniques and ideologies, but also extending, in his own way, the contentious legacies of Abstract Expressionism and Pop Art.


Salle describes his early education in art as “taking place when the idea of a work having autonomy was still viable. The idea was to make something, which, instead of pointing to an experience, is the experience” (David Salle, “At the Edges. An Interview by Frederic Tuten,” Stedelijk Museum, Amsterdam, 1999, p. 16). One such work of art is Salle’s 1990 painting Mingus in Mexico. In reference to Charles Mingus, the American jazz musician who passed away in Mexico in 1979, the painting embodies an improvisation and intensity, which both ignites and neutralizes meaning. Salle’s empty pink speech bubble denies the viewer of any narrative explanation, however, provides a conglomerate of visual cues, which create endless points of entry for understanding the rhythm, gesture, and depth within the painting.


Salle’s Fooling With Your Hair from 1985 creates a different conversation among seemingly disparate imagery. Split horizontally, the canvas shows two friezes, the top a colorful assembly of Giacometti sculptures and mid-century light fixtures, the lower is comprised of three black and white paintings of a woman based on Salle’s own photographs. The model is seen lying on a table, in extreme perspective, in poses taken seconds apart, implying movement, a kind of performance. Her heavily shadowed body is both sexualized and not, objectified and distanced. Salle’s use of provocative imagery overlapped with design and fine art sculptures by a modern master perhaps asks the viewer to question the connections that might lie amongst the two.


I think the desire to paint comes out of looking at paintings and identifying with the actual material process. You have to feel that your ‘self’ is capable of being expressed through paint. You have to be able to sense painting as both a metaphor and as a specific physical reality, and feel that the two states are inseparable. Otherwise you shouldn’t bother” (David Salle, “At the Edges. An Interview by Frederic Tuten,” Stedelijk Museum, Amsterdam, 1999, p. 17).